ZZOTINTS 


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THE 
MAX ROSENBERG COLLECTION — \)\\7 


MEZZOTINTS 


Engraved and Printed in Colors 
at one Printing and a 


few Prints in pure Mezzotint 


BY 


5. ARLENT-EDWARDS 


TO BE SOLD 


MONDAY, DECEMBER 17, 1917 
AT 8.15 O’CLOCK 


On Public Exhibition from Monday, December 3rd 
THE ANDERSON GALLERIES \-ASb +3 


PARK AVENUE AND FIFTY-NINTH STREET 
NEW YORK 


&* 


CONDITIONS OF SALE 


1. All bids to be PER Lor as numbered in the Catalogue. 


2. The highest bidder to be buyer; in all cases of disputed bids the lot 
shall be resold, but the Auctioneer will use his judgment as to the good 
faith of all claims and his decision shall be final. He also reserves the 
right to reject any fractional or nominal bid which in his judgment may 
delay or injuriously affect the sale. 


3. Buyers to give their names and addresses and to make such cash 
payments on account as may be required, in default of which the lots pur- 
chased to be resold immediately. 


4. The lots to be taken away at the buyer’s expense and risk within 
twenty-four hours from the conclusion of the sale, and the remainder 
of the purchase money to be absolutely paid on or before delivery, in 
default of which The Anderson Galleries, Incorporated, will not be re- 
sponsible if the lot or lots be lost, stolen, damaged, or destroyed, but they 
will be left at the sole risk of the purchaser, and subject to storage charges. 


5. To prevent inaccuracy in delivery, and inconvenience in the settle- 
ment of purchases, no lot will be delivered during the sale. 


6. All lots will be exposed. for public exhibition in The Anderson 
Galleries before the date of sale, for examination by intending purchasers, 
and The Anderson Galleries, Incorporated, will not be responsible for the 
correctness of the description, authenticity, genuineness, or for any defect 
or fault in or concerning any lot, and makes no warranty whatever, 
but will sell each lot exactly as it is, WITHOUT RECOURSE. But upon 
receiving before the date of sale, expert opinion in writing that any lot is 
not as represented, The Anderson Galleries, Incorporated, will use every 
effort to furnish proof to the contrary, and in default of such proof the 
lot will be sold subject to the declaration of the aforesaid expert, he being 
liable to the owner or owners thereof for damage or injury occasioned by 
such declaration. 


7. Terms Casn. Upon failure to comply with the above conditions 
any sum deposited as part payment shall be forfeited, and all such lots 


as remain uncleared after twenty-four hours from the conclusion of the 
sale, will be resold by either private or public sale at such time as The 
Anderson Galleries, Incorporated, shall determine, without further notice, 
and if any deficiency arises from such resale it shall be made good by the 
defaulter at this sale together with all the expenses incurred thereby. 
This condition shall be without prejudice to the right of The Anderson 
Galleries, Incorporated, to enforce the contract with the buyer, without 
such resale. 


8. Bips. We make no charge for executing orders for our customers 
and use all bids competitively, buying at the lowest price permitted by 
other bids. 


9. The Anderson Galleries, Incorporated, will afford every facility 
for the employment of carriers and packers by the purchasers, but will 
not be responsible for any damage arising from the acts of such carriers 
and packers. 


Priced Copy of this Catalogue may be secured for $1.00 


The Anderson Galleries 


INCORPORATED 
Park AVENUE AND FIFTY-NINTH STREET, NEw YORK 
TELEPHONE, PLAZA 9356 


SALES CONDUCTED BY MR. FREDERICK A. CHAPMAN 


Preface 


HE prints comprising the following list, with but few exceptions, 

make a complete collection of the proofs from the mezzotint 
plates engraved by 5. Arlent-Edwards. They are appropriately 
framed, and unless otherwise stated, are signed and printed in 
colors by the engraver. 

The Edwards’ prints are widely sought by the collector. Many 
subjects are now so rare as to be almost unobtainable and the 
making of a complete collection, a problem involving the great- 
est difficulties. 

In explanation of the method he adopted, Mr. Edwards made 
the following statement: 

After some years of experimenting and investigating, I believe 
that I have succeeded in reviving the almost obsolete art of 
color printing from a mezzotint plate—done in one printing and 
without any retouching, as it was practiced a hundred years ago 
by the English engravers—examples of whose work are now in 
such great demand. I have gone far enough in my experiments 
to be able to confidently announce that all the beauties of the 
old printing will be retained in mine and I can secure a depth and 
richness of color that can be achieved by no other system of print- 
ing. 

After Jacob Le Blond, in 1720, invented printing in colours 
from a mezzotint plate, the art was practised and gradually im- 
proved until it arrived at its highest point of perfection late in the 
18th century. Since then, and for the past century it has, for 
some reason, fallen into desuetude; and though it has been re- 
vived with varying success, the experimental labor, time, etc., 
necessary to make a good proof has made the process so expensive 
that it has not met with the support necessary to its progress. 

Every proof in colours is practically an oil painting. When the 
plate is engraved and ready to be printed, the colored inks— 


which are specially ground and mixed with thick oil and varnish— 
are rubbed on the plate in a thick mass and then wiped off the 
surface, the fine indentation of the mezzotint leaving a place for 
the colours to lie. Each colour has to be put on and rubbed 
separately. After the ink is put on and the plate wiped and man- 
ipulated in a manner which blends the colours together, so that 
there is no ink left except in the engraved work, the proof-paper 
is then laid on the plate and is passed through a heavy copper- 
plate hand-press, the paper being thus pressed into the engraved 
work in the plate and taking up the ink and so making the finished 
proof. The same process has to be gone over for each proof and 
consequently it necessitates a great amount of labor and experi- 
ence, but the end justifies the means, for these engravings possess 
a richness of colour which can be achieved by no other process. 

Mezzotint is a style of engraving on copper or steel differing 
entirely from any other. The surface of the plate is first indented 
all over by the action of an instrument, like a chisel, with a ser- 
rated edge, called a mezzotint grounder. This tool being rocked 
to and fro in many directions (technically called ways) produces 
a “‘nap”’ or “burr,” called the mezzotint ground and which, if an 
impression were taken, would be uniformly black. A mezzo- 
tint engraver’s tools are few—a scraper and burnisher. The 
design is drawn upon this ground by scraping away the “burr,” 
scraping more and more of the ground in proportion to the shades, 
using a. burnisher for the highest lights. The mezzotinter’s work 
has a breadth of effect, a depth and brilliancy of tone to be at- 
tained by no other style of engraving. But the freedom of han- 
dling which this method allows makes akeen knowledge of drawing 
and the values of black and white indispensable. 


5S. ARLENT-EDWARDS 


S. ARLENT-EDWARD} 


By Miss Marie A. Hyde 


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The Max Rosenberg Collection of 
MEZZOTINTS 


Printed in Color by 
S. ARLENT-EDWARDS 


Monday Evening, December 17, 1917, at 8:15 o'clock 


1 LADY HALLETT after Thomas Gainsborough 


A portion of “The Morning Walk” in the Rothschild Col- 
2 lection. Published in November, 1900. Plate defaced in 
} 20, 1902. Proofs limited to 175 copies. 


2 DUCHESS OF DEVONSHIRE after Thomas Gainsborough 


Original painting in the J. Pierpont Morgan Collection. 
| g 0, “f Published in 1902. Plate defaced November 1, 1904. Proofs 
’ limited to 125 copies. 


3 SOPHIA CHARLOTTE (Wife of Sir John Sheffield, Bart.) 
after Thomas Gainsborough 


Original painting in the Rothschild Collection. Published 
: »O° in November, 1901. Plate defaced in 1902. Proofs 
limited to 175 copies. Remarque—a crest. 


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~ EMMA (Lady Hamilton) after George Romney 


Original painting in the Rothschild Collection. Published 
in 1904. Plate defaced in March, 1906. Proofs limited 
to 175 copies. 


BOSOM FRIENDS (Miss Bowles) after Sir Joshua Reynolds 
Original painting in the Wallace Collection. Published 
in 1903. Plate defaced in August, 1906, No. 5 of 10 


subscription copies. Remarque: sheep, with original pencil 
sketch of a dog’s head. 


LADY HAMILTON AS NATURE after George Romney 


Original painting in the Henry C. Frick Collection. Pub- 
lished in September, 1908. Plate defaced in December, 
1908. Proofs limited to 225 copies. 


LAVINIA (Countess Spencer) after Sir Joshua Reynolds 


Original painting in the Spencer Collection. Published in 
October, 1902. Plate defaced January 3, 1904. Proofs 
limited to 175 copies. 


THE MISSES FRANKLAND after John Hoppner 


Original painting in the Tennant Collection. Published 
in 1902. Plate defaced August 19, 1907. Proofs limited 
to 175 copies. 


Label on back of frame, “The Sisters. The Ladies Falkland.” 


THE HONORABLE MISS BINGHAM after Sir Joshua 
Reynolds 


Original painting in the Spencer Collection. Published 
in January, 1902. Plate defaced January 3, 1904. Proofs 
limited to 175 copies. 


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MRS. DRUMMOND SMITH after George Romney 


Original painting in the Northampton Collection. Pub- 
lished January 23, 1905. Plate defaced in March, 1906. 
Proofs limited to 175 copies. 


MRS. SARAH SIDDONS after Thomas Gainsborough 
Original painting in the National Gallery. Published in 
1902. Plate defaced in August, 1906. Proofs limited to 
150 copies. 


MRS. BENWELL after John Hoppner 


Published in 1904. Plate defaced November 1, 1904. 
Proofs limited to 175 copies. 


THE BLUE BOY (Jonathan Buttall) after Thomas Gains- 
borough : 
Original painting in Grosvenor House. Published in 
September, 1901. Plate defaced November 1, 1903. 
Proofs limited to 175 copies. 


NATURE (The Calmady Children) after Sir Thomas Law- 
rence 
Original painting in the H. E. Huntington Collection. 
‘Published in 1903. Plate defaced in August, 1906. Proofs 
limited to 175 copies. 


THE PINK BOY (Master Nicholls) after Thomas Gains- 
borough 
Original painting in the Rothschild Collection. Published 
in 1903. . 


On publication announcement was made that the proofs would 
be limited to 175 copies; but less than a hundred proofs were pulled 
because of an accident to the plate. VERY Rare. 


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MRS. DAVENPORT after George Romney 


Original painting in the Bromley-Davenport Collection. 
Published Novemner 26, 1906. Plate defaced January 26, 
1907. Proofs limited to 175 copies. 


LADY ELIZABETH COMPTON after Sir Joshua Reynolds 


Original painting in the Chesham Collection. Published 
in 1903. Plate defaced in August, 1906.- Proofs limited 
to 175 copies. 


ELIZABETH (Countess Grosvenor) after Sir Thomas Law- 


rence 


Original painting in Westminster Gallery. Published 
February 4, 1907. Plate defaced August 19, 1907. Proofs 
limited to 200 copies. 


MRS. JOHN DOUGLAS after Thomas Gainsborough 
Published 


Proofs limited 


Original painting in the Rothschild Collection. 
September, 1901. Plate defaced in 1903. 
to 150 copies. 


THE DUCHESS OF DEVONSHIRE AND HER DAUGH- 
TER after Sir Joshua Reynolds 


Published 
1907. Proofs 


Original painting in the Devonshire Collection. 
in 1905. Plate defaced November 18, 
limited to 200 copies. 


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MRS. ROBINSON (Perdita) after Thomas Gainsborough 


Original painting in the Wallace Collection. Published in 
September, 1901. Plate defaced in 1903. Proofs limited 
to 135 copies. 


A VISIT TO THE BOARDING SCHOOL after George 
Morland 
Original painting in the Wallace Collection. Published in 
1901. Plate defaced January 1, 1908. Proofs limited 
to 175 copies. | 


MRS. LOWNDES-STONE NORTON after Thomas Gains- 
borough 
Original painting in the Rothschild Collection. Published 
September 16, 1905. Plate defaced February 1, 1907. 
Proofs limited to 175 copies. 


ELIZABETH (Countess of Mexborough) after John Hopp- 
ner. 
Original painting in the Collection of the Countess of 
Mexborough. Published in 1905. Plate defaced August 
19, 1907. Proofs limited to 175 copies. 


Label on back of frame gives the title ‘Countess of Mexford.” 


MRS. MEARS after Thomas Gainsborough 


Original painting in the Rothschild Collection. Pub- 
lished September 16, 1905. Plate defaced February 1, 
1907. Proofs limited to 175 copies. 


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26 YMADAME ADELAIDE (Daughter of Louis XV as Diana) 


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after Jean Marc Nattier. 


Original painting in the Versailles Gallery. Published in 
1902. Plate defaced in September, 1905. Proofs limited 
to 175 copies. 


Excessively rare. 


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MADAME HENRIETTA (Daughter of Louis XV as Flora) 
after Jean Marc Nattier 
Original painting in the Versailles Gallery. Published in 
1902. Plate defaced in September, 1905. Proofs limited 
to 175 copies. 


(Companion to the preceding and like it excessively rare.) 


MADAME LOUIS DE FRANCE (Daughter of Louis XV) 
after Jean Marc Nattier 


Original painting in the Versailles Gallery. Published 
January 2, 1902. Plate defaced November 1, 1903. 
Proofs limited to 175 copies. 


GIRL WITH DOVE (Sympathy) after Jean Baptist Greuze 


Original painting in the Wallace Collection. Published in 
1904. Plate defaced in August, 1906. Proofs limited to 
175 copies. 


INNOCENCE after Jean Baptist Greuze 
Original painting in the Wallace Collection. Published in 
October, 1901. Plate defaced in 1902. Proofs limited to 
125 copies. Remarque: two baby lambs. 


LE DAUPHIN after Mme. Vigée le Brun. 


Part of ““La Reine Marie et Ses Enfants” in the Versailles 
Galleries. Published in 1904. Plate defaced in December, 
1907. Proofs limited to 175 copies. Remarque: crest of 
the Bourbons. 


THE MUSIC LESSON after Nicolas Lancret 
Origmal painting in the Louvre. Published in January, 
1902. Plate defaced in March, 1906. Proofs limited to 
175 copies. 


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INNOCENCI (The Garden Party) after Nicolas Lancret 


Original painting in the Louvre. Published in January, 
1902. Plate defaced in March, 1906. Proofs limited to 
175 copies. 


With mezzotint of defaced plate marked ‘“‘With compliments of 
S. Arlent Edwards” on reverse side of frame. 


MADONNA after Botticelli. 


Part of “Virgin and Child” in the National Gallery. 
Published in September, 1902. Plate defaced December 
1, 1904. Proofs limited to 175 copies. 


Characterized as the rarest and most desirable of the Edwards 
prints. 


LA BELLE FERRONNIERE after Leonardo da Vinci. 


A portrait presumably of Lucrezia Crevelli. The original 
painting is in the Louvre. Published September 10, 1906. 
Plate defaced November 1, 1906. Proofs limited to 225 
copies. 


MADONNA after Fra Fillippo Lippi. 


Part of “Virgin Adoring The Child” in the Uffizi Gallery. 
Published in April, 1905. Plate defaced December 1, 1905. 
Proofs limited to 175 copies. 


MONA LISA after Leonardo da Vinci 


Original painting in the Louvre. Published April 1, 1906. 
Plate defaced in August, 1906. Proofs limited to 175 
copies. 


LUDOVICA TORNABUONTI after Ghirlandaio 


Part of ‘‘ Birth of the Virgin” in the Church of Santa Maria 
Novella, Florence. Published October 10, 1905. Plate 
defaced December 1, 1905. Proofs limited to 175 copies. 


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BAPTISTA TORNABUONTL after Ghirlandaio 


Part of “The Birth of the Baptist” in the Church of Santa 
Maria Novella, Florence. Published September 10, 1906. 
Plate defaced November 1, 1906. Proofs limited to 225 
copies. 


MADONNA after Bernardino Luini. 


Part of “The Holy Family” in the Ambrosiana Gallery. 
Published in September, 1908. Plate defaced in December, 
1908. Proofs limited to 225 copies. 


PORTRAIT OF A LADY after Ambrogio de Predis 


The original painting is in the Ambrosiana Gallery. Pub- 
lished January 23, 1905. Plate defaced January 1, 1906. 
Proofs limited to 175 copies. 

Erroneously called “Beatrice d’Este”’ and attributed to Leonardo 


da Vinci. 
MADONNA after Pietro Vanucchi (Andrea del Sarto) 


Part of “The Virgin and Child” in the Uffizi Gallery. 
Published October 1, 1907. Plate defaced December 18, 
1907. Proofs limited to 225 copies. 


JULIA MACDONALD after Sir Thomas Lawrence 
Published in April, 1908. Plate defaced in January, 1909. 
Proofs limited to 150 copies. Remarque: a rose. 

MRS. RICHARD BRINSLEY SHERIDAN after Thomas 

Gainsborough. 
Published 


Proofs limited 


Original painting in the Rothschild Collection. 
in 1901. Plate defaced in March, 1905. 
to 125 copies. 


PRINCESS AUGUSTA 
borough. 


SOPHIA after 


Thomas. Gains- 


From a group of three daughters of George III. The 
original painting is in the Windsor Collection. Published 
in 1905. Plate defaced August 19, 1907. Proofs limited 
to 150 copies. 


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47 


48 


49 


50 


51 


PLAYMATES (Girl and Dog) after Sir Joshua Reynolds 


Original painting in the Windsor Collection. Published 
in October, 1901. Plate defaced June 1, 1903. Proofs. 
limited to 125 copies. 


LADY MULGRAVE after Thomas Gainsborough 


Original painting in the Campbell Collection. Published 
in April, 1908. Plate defaced in January, 1909. Proofs 
limited to 225 copies. Remarque: spray of flowers. 


AGE OF INNOCENCE after Sir Joshua Reynolds 


Original painting in the National Gallery. Published 
in 1902. Plate defaced in May, 1905. Proofs limited to 
135 copies. 


ELIZA FARREN (Countess of Derby) after Sir Thomas 


Lawrence 


Original painting in the J. Pierpont Morgan Collection. 
Published in 1902. Plate defaced in March, 1905. Proofs 
limited to 125 copies. 


“MASTER LAMBTON after Sir Thomas Lawrence 


Published in 1902. Plate defaced in February, 1907. 
Proofs limited to 175 copies. Remarque: Collie dog. 


MRS. ROBINSON (Perdita) after George Romney 


Original painting in the Wallace Collection. Published 
in 1904. Plate defaced in September, 1905. Proofs 
limited to 175 copies. 


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MRS. WELLS after George Romney 
Original painting in the J. H. Smith Collection. Published 
in January, 1902. Plate defaced in 1903. Proofs limited 
to 135 copies. 


Small quarto. 


MIRANDA (Mrs. M. A. Taylor) after John Hoppner 


Original painting in the Londonderry Collection. Pub- 
lished in 1904. Plate defaced August 19, 1907. Proofs 
limited to 175 copies. Remarque: swan. 


DUCHESS OF RUTLAND after Sir Joshua Reynolds 


The original painting was burned in Belvoir Castle in 
1816. Published in 1903. Plate defaced in August, 1906. 
Proofs limited to 175 copies. 


DUKE AND DUCHESS OF CUMBERLAND (The 
Morning Walk) after Thomas Gainsborough. 


Original painting in Buckingham Palace. Published Oc- 
tober 1, 1907. Plate defaced December 18, 1907. Proofs 
limited to 225 copies. | 


MRS. MUSTERS after Sir Joshua Reynolds 


Original painting in the Leconfield Collection. Published 
in 1903. Plate defaced in August 1906. Proofs limited to 
175 copies. | 


IZAAK WALTON after E. Inskipp 
Published in 1903. Plate defaced August 19, 1907. Proofs 
limited to 150 copies. 
Artist’s name spelled ‘‘Tuskipp”’ on label. 


[16 ] 


60 


62 


63 


THE FORTUNE TELLER after Rev. W. A. Peters. 


Original painting in Guild Hall. Published in 1902. Plate 
defaced November 18, 1907. Proofs limited to 125 copies. 


THE FORTUNE TELLER after Sir Joshua Reynolds 


Original painting in the Rothschild Collection. Published 
in 1901. Plate defaced November 18, 1907. Proofs 
limited to 125 copies. 


GOOD NIGHT after Henry Mosler 


Published in 1896. Plate defaced January, 1909. Proofs 
limited to 200 copies. 


ANNE OF CLEVES after Hans Holbein 


Original painting in the Louvre. Published in January 
1908. Plate defaced April 18, 1908. Proofs limited to 
225 copies. 


ELVIRA (Sometimes called The Unknown Lady) attributed 


to Piero della Francesca 


Original painting in the Poldi Pezzoli Gallery. Published 
March 2, 1908. Plate defaced April 18, 1908. Proofs 
limited to 225 copies. 


SASKIA VAN UYLENBORCH (Wife of the Painter) 
after Rembrandt van Ryn. 


- Original painting in the Cassel Gallery. Published Feb- 


ruary 4, 1907. Plate defaced March 6, 1907. Proofs 
limited to 225 copies. 


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REMBRANDT’S MOTHER after Rembrandt van Ryn 


Original painting in the Hermitage Gallery. Published 
in 1900. Plate defaced August 19, 1907. Proofs limited 
to 135 copies. 


THE LUTE PLAYER after Franz Hals 


Original painting in the Amsterdam Gallery. Published 
September 28, 1909. Plate defaced November 1, 1909. 
Proofs limited to 225 copies. 


SIMONETTA VESPUCCIA after Pierro di Cosimo 


Original painting, erroneously attributed to Pollajuollo, in 
the Musée Condé, Chantilly. Published November 30, 
1909. Plate defaced January 15, 1910. Proofs limited 
to 225 copies. 


WILLIAM III. OF NASSAU after Adriaen Hanneman 


Original painting, erroneously attributed to Van Dyck, in 
the Hermitage Gallery. Published January 11, 1909. 
Plate defaced February 1, 1909. Proofs limited to 225 
copies. 


PORTRAIT OF A- YOUNG PRINCESS after Constantin 
Netscher 


Original painting in the Louvre. Published March 5, 1910. 
Plate defaced August 1, 1910. Proofs limited to 225 copies. 


FRANCOIS If (Dauphin of France) after Frangois Clouet 


Original painting in the Antwerp Museum. Published 
October 4, 1910. Plate defaced February 11,1911. Proofs 
limited to 225 copies. 


[19] 


70 


75 


PHILLIPPE ELISABETH D’ORLEANS (Mlle. de Beau- 


jolais) after Jean Marc Nattier 


Original painting in the Versailles Gallery. Published 
February 18, 1911. Plate defaced March 1, 1911. Proofs 
limited to 175 copies. 


MARGARET VAN EYCK (Wife of the Painter) after Jan 
van Eyck 


Original painting in the Musée de Bruges. Published 
February 18, 1911. Plate defaced December 20, 1911. 
Proofs limited to 225 copies. 


A GENTLEMAN OF BRUGES (Portrait of Martin van 
Nieuwenhove, Mayor of Bruges) after Hans Memling 


Original painting in St. Jean’s Hospital, Bruges. Published 
January 2, 1912. Plate defaced January 2, 1912. Proofs 
limited to 225 copies. 


PORTRAIT OF A LADY (Lucrezia Tornabuoni) after 
Botticelli 


Original painting in the Stadel Institute, Frankfort-am- 
Main. Published March 2, 1912. Plate defaced March 
2, 1912. Proofs limited to 225 copies. 


THE PARSON’S DAUGHTER after George Romney 


Original painting in the National Gallery. Published 
October 26, 1912. Plate defaced October 26, 1912. Proofs 
limited to 225 copies. 


LOUISE DE BOURBON (Duchesse du Maine) after 
Pierre Mignard 


Original painting in the Versailles Gallery. Published 
October 26, 1912. Plate defaced October 26, 1912. Proofs 
limited to 225 copies. 


[21] 


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LADY LAVINIA SPENCER after Thomas Gainsborough 
Proofs limited to 50 copies. Remarque: flowers. 


Label on frame gives the title ‘‘ Lady La de Spencer.” 


PORTRAIT OF A YOUNG WOMAN (Sister Catherine) 
after Roger van der Weyden 


Original painting in the Kaiser Frederich Museum, Berlin. 
Published February 14, 1912. Plate defaced February 14, 
1912. Proofs limited to 200 copies. 


PORTRAIT OF A LADY (A Member of the Dudgeon 
Family) after Henry Raeburn 


Original painting in the National Gallery. Published 
October 7, 1913. Plate defaced October 7, 1913. Proofs 
limited to 225 copies. 


BLANCA MARIE SFORZA (Wife of Maxmillian I.) after 
Ambrogia de Predis 


Published in 1914. Proofs limited to 225 copies. 


MRS. LLOYD after Sir Joshua Reynolds 


Original painting in the Rothschild Collection. Proofs 


limited to 225 copies. 


[ 23 | 


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81 


82 


83 


84 


85 


86 


A COLLECTION OF PORTRAITS OF 
GEORGE WASHINGTON 


GEORGE WASHINGTON after Valentine Green 
From the engraver’s private plate. 


Proof in pure mezzotint and a print in colors in one frame. Limited 
to six copies. 


GEORGE WASHINGTON after John Trumbull 
Original painting in the City Hall, New York City. Pub- 
lished in 1899. 


In pure mezzotint. 


GEORGE WASHINGTON after Gilbert Stuart 
Proofs limited to 22 copies. 


Proof in colors with a proof of the defaced plate in pure mezzotint 
and reproduction of Washington’s signature on the reverse of frame. 


GEORGE WASHINGTON after Sharples 
Published in 1899 


Proof in colors. Quarto from the private plate from which but 
35 proofs were taken. 


GEORGE WASHINGTON AND MARTHA WASH- 
INGTON after Gilbert Stuart 


Original paintings in the Metropolitan Museum. Proofs 
limited to 150 copies. 


Vis-a-vis busts in colors. 


GEORGE WASHINGTON 


In pure mezzotint. Remarque: a conventionalized flower. 


[ 24 ] 


87 


88 


89 


93 


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GENERAL HORATIO GATES after Gilbert Stuart 


Original painting in the New York Public Library. Pub- 
lished in 1899. Proofs limited to 25 copies. — 


From the small quarto private plate, printed in colors. 


GENERAL NATHANIEL GREENE after C. W. Peale 


Original portrait owned by Mrs. William Benton Greene, 
Princeton, New Jersey. Proofs limited to 50 copies. 


From the quarto private plate, printed in colors. — 


JOSEPH JEFFERSON 


Proofs limited to 22 copies. 


From the small quarto private plate, printed in colors. 


SOPHIE ARNOULD 


Special edition limited to 100 proofs in color. 
Small quarto private plate. 


IZAAK WALTON after E. Innskipp 


From the very rare small private plate from which only 10 proofs 
were taken and colored by the engraver. With facsimile signature 
of Izaak Walton. 


EDWIN BOOTH > 
Printed in pure mezzotint. Remarque: a wreath. 


MADAME RECAMIER after Baron Francois Pascal 


Gérard 


Proofs limited to 200 copies. 
Remarque: a bunch of grapes. 


Mezzotint slightly colored. 


Small quarto plate. 


[ 25 | 


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94 


95 


96 


97 


98 


99 


100 


, DUCHESS OF DEVONSHIRE after Horace Hone. 


Proofs. limited to 125 copies in colors; 25 copies in pure 
mezzotint. Remarque: an open fan. 


Miniature in colors. 


COUNTESS RUSSELL after Sir Thomas Lawrence 
Proofs limited to 150 copies. 


Miniature in colors. 


MARIE ANTOINETTE after Madame Vigée le Brun 


Proofs limited to 150 copies in colors; 50 in pure mezzotint. 
Remarque: Louis XVI. 


Printed in colors. 


EMPRESS JOSEPHINE after Baron Francois Pascal 
Gérard 


Proofs limited to 150 copies in colors and 50 in pure me€ZZO- 
tint. Remarque: Head of Napoleon. 


Printed in colors. 


COUNTESS POTOCKA 


Proofs limited to 150 copies. Remarque: a spray of 
flowers. 


Small quarto printed in colors. 


LADY HAMILTON after George Romney 
Published in 1893. Proofs limited to 150 copies. 


Quarto printed in colors. 


FANNIE KEMBLE after Henry Inman. 
Published in 1899. Proofs limited to 25 copies. 


Printed in colors. 


[ 26 | 


i 


101 


102 


103 


104 


105 


106 


107 


108 


109 


110 


MME. DE MONTESPAN by Jean Marc Nattier 


Small quarto printed in colors. 


MRS. SIDDONS 


Small quarto in pure mezzotint, marked proof. 


ADA REHAN 


Miniature in colors. 


ADA REHAN > 


Small quarto in colors. 


ADA REHAN AS KATHERINE after A. M. Turner 


In pure mezzotint. Signed by Miss Rehan, the painter and the 
engraver. 


LADY HAMILTON 
Published in 1902. 


Small quarto in pure mezzotint. 


MARY LAMB after S. F. Carey 
Proof No. 24. 


Small quarto in pure mezzotint. 


OLIVER GOLDSMITH after Sir Joshua Reynolds 


Small quarto in pure mezzotint. Marked proof. 


MME. DE POMPADOUR after Latour 
Remarque: head of Louis XV and palette. 


Small quarto printed in colors. 


CHRISTINE ROSETTI after Dante Gabriel Rosetti 


Small quarto in pure mezzotint. Marked proof. 


[27] 


eg 


111 


113 


114 


115 


116 


117 


118 


‘GEORGE DYER after Meyer 


Small quarto in pure mezzotint. 


WILLIAM COWPER after George Romney 


Small quarto in pure mezzotint. 


MARY WOLLSTONECRAFT SHELLEY after Rothwell 
Published in 1895. Proof No. 27. 


Small quarto in pure mezzotint. 


MARIE ANTOINETTE 


Remarque: a rose. 


Miniature in colors. 


LADY FLORA MACDONALD after Sir Thomas Lawrence 


Remarque: spray of flowers. 


Small quarto in colors. 


SIGNORA STORACE after Richard Cosway 


Remarque: a medallion. 


Miniature in colors. 


MME. LE BRUN AND CHILD after Mme. Vigée le Brun 


From the private plate. Proofs limited to 22 copies. 
Remarque: a cherub painting. 


Small quarto in colors. 


QUEEN LOUISE OF PRUSSIA after Gustav Richter 


Proofs limited to 150 copies in colors and 50 in pure mezzo- 
tint. Remarque: portrait of Frederick William III. 
Very delicate tinting. 


[ 28 | 


119 


121 


122 


123 


124 


125 


126 


DUCHESSE DU BARRY after Baron Francois Pascal 
Gérard 


Proofs limited to 150 copies in colors. 


Small quarto. 


COUNTESS OF WILLON after Sir Thomas Lawrence 


Proofs limited to 150 copies in colors. Remarque: pansies 


Small quarto. 


PRINCESS WILHELMINA after J. S. Tischbein 


Proofs limited to 200 copies in colors. 


NELL GWYNN after Sir Peter Lely 


Proofs limited to 150 proofs in colors. Remarque: cupid. 


MARGARET WOFFINGTON after A. Pond 


Proofs limited to 150 copies in colors. Remarque: masks 
of Tragedy and Comedy. 


Small quarto. 


COUNTESS COWPER after Sir Thomas Lawrence 


Proofs limited to 150 copies. Remarque: a bird. 


COUNTESS OF BLESSINGTON after Sir Thomas Law- 


rence 


Proofs limited to 175 copies. Remarque: a pansy. 


MME. DE STAEL after Baron Francois Pascal Gérard 


Proofs limited to 100 copies in colors, and 50 in pure 
mezzotint. Remarque: books and pens. 


Small quarto in colors. 


[ 29 |] 


128 


129 


130 


131 


133 


MARY QUEEN OF SCOTS after F. Zuccheri 
Proofs limited to 150 copies. Remarque: block and axe. 


NAPOLEON after Jacques Louis David 


Proofs limited to 200 copies. Remarque: wreath and 
French Eagle. 


Printed in colors. 


FIVE MINIATURES 


Mmes. Montespan, Grignan, Le Valliere, Maintenon, and 
du Barry in one frame. 


Printed in colors. 


PORTRAIT OF A LADY 


Small quarto printed in colors. 


SOPHIE GAY 


Remarque: scroll and quills with pencil sketch of books. 
Quarto, delicately printed. 


MRS. LOWNDES-STONE NORTON after Thomas Gains- 
borough 


_The original plate in defaced condition. See Lot No. 23. 


MRS. MEARS after Thomas Gainsborough 
The original plate in defaced condition. See Lot No. 25. 


THE LUTE PLAYER after Franz Hals 
The original plate in defaced condition. See Lot No. 65. 


[ 30 |] 


To The Anderson Galleries, Inc. 
Park Avenue and Fifty-ninth Street, New York. 
Please buy for me at your Auction Sale No... Ry oe oh Gk a Uo ced emcee |) area 


the following lots at not exceeding the prices named, which are so much per Lot. 
These bids are made subject to the Conditions of Sale printed in the Catalogue of this 


sale, - 
a ehcp ovcnegone rotenone nena pein enpneenecn ees 
ee % 
LE SAG EECA CER SO lt gO Er A EE OE 


Lot First Word of Title ic Bid 


Make your bids on this sheet for one sale only, with full name and address, 
Terms Cash. References or cash deposit required with orders from strangers. 


